Pravat Kumar Padhy contemplates many layers.
re:Virals
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re:Virals 277
·
January 15, 2021
Welcome to re:Virals, The
Haiku Foundation’s weekly poem commentary feature on some of the finest haiku
ever written in English. This week’s poem was
peeling layers
of childhood green mango chutney
— Neena
Singh, Heliosparrow Poetic Journal (2020)
Pravat Kumar Padhy contemplates many layers:
It has been a moment of delight reading this monoku by Neena Singh. I take
it as a prized occasion when I introduced the art of monoku to her and
encouraged her to send it to Heliosparrow Poetic Journal.
The monoku “peeling layers of childhood green mango chutney” indeed unfolds
the ephemeral beauty and gentle nuances of poetic expression with lyrical
utterance. It is a combination of 12 syllables. Structurally, the use of a
gerund (peeling) in a monoku has been nicely crafted. Technically, it is
embedded with the basic aesthetic elements of seasonal reference, poetic
sincerity (fuga no makoto), and the honesty of
haiku writing. There is an element of subtle juxtaposition (syntactic pivot)
here in this monoku. The monoku is a classic style of one-breath expression
characterized by its own fragment and phrase. It has the ingredients of
lightness (karumi), creativeness (zoko), and elegance (fuga). There is a subtle pause or
silence between “peeling layers of childhood” and “green mango chutney.” The
silence (ma) in between portrays the magical
shift of images and creates a literary vibration amongst the readers to ponder
the philosophical inkling with the word-phrase (peeling layers of childhood)
followed by a spurt of humor in “mango chutney.” I feel there is unexpectedness
(atarashimi) and drifting mood (nioi) in the expression that render a magical touch to this monoku. It explores
the enlightened (satori) nature of childhood in
its manifestation of simplicity (iki).
The concise crafting of the poem embodies a sense of
activity, such as the visualization of childhood followed by the depiction of
colour and taste. In the end, it makes the reader go back to re-read and
rekindle their ecstatic memories.
Mango is regarded as an auspicious fruit in India.
Popularly, it is known as the “king of fruits.” It symbolizes prosperity,
happiness, love, and fertility. Neena tries to image a sense of happiness
through the image of “mango.” The references of mango fruit and mango leaves
have been cited in ancient Hindu scriptures. There have been references to
sacredness about the mango tree in Buddhism and Jainism. The Nobel Laureate
Rabindranath Tagore often symbolized the king of fruits in his poems.
Peeling of the raw mango summer season is widely seen in
everyone’s kitchen across India. It is a moment of joy to be holding a mango,
peeling its skin with smiles pouring over its fragrance, and sparkling eyes
absorbing the aromatic taste of it. Sitting at the corner, surrounded by
grandchildren, the grandma peels green mangoes for chutney and pickles — a
soothing image that lingers on for ages together in rural villages. Mango
chutney is a favorite item in Indian cuisine. The infusion of Indian-ness has
been explored by the use of the word “chutney,” derived from the Hindi
language. Neena is apt enough to catch that moment, and her spontaneity avidly
sketches a quintessential and succinct image in the form of the monoku.
There is also an element of the psychoanalytic angle in the interpretation
of this monoku. There lies an interesting philosophical and psychological
symbiosis with peerless childhood. The readers start analyzing the beautiful
childhood days and imbibe to remain in the realm of exultancy. Indeed,
childhood is beyond the boundary of space and time, though we define it in
terms of biological age. Heraclitus, an ancient Greek philosopher, and his
connection between aion (time), pais (child), and basileia (kingdom)
demonstrate the philosophy of childhood urge, enthusiasm, and vigorousness. The
fragment “peeling the layers of childhood” unifies the reader’s soul with an
abyssal sense of love, affection, and divinity. The poem tries to unfold the
zen-feeling of the early sunlit waves that one experiences during childhood. In
this monoku, the childhood images the cognitive impression of the smile of a
tender flower, the softness of snow, tenderness of a feather, and the rainbow
of joy. Rightly so, John Betjeman says, “Childhood is measured out by sounds
and smells and sights, before the dark hour of reason grows.”
Interestingly, the use of “green mango” refers to the tenderness of the
timespan, much before ripening, and broadly it juxtaposes the childhood age.
The flavor of green chutney correlates with the joyfulness of childhood days.
Neena artfully uses mango chutney as a subtle poetic metaphor portraying the
essence of haiku of the touchingness of things (mono no
aware) and touchningness of life (yo no
aware). The art of juxtaposition in this haiku is an
exploration of reasoning and a poetic logic that resides in one’s imagism and
in T. S. Eliot’s term, expressed as the “objective correlative.”
I wish to quote Jacob Salzer: “I find that haiku reminds
us to use caution with our words, and also helps us realize the value of a single
word. In terms of ‘economy of language,’ one-line haiku makes full use of very
few words, even more so than three-line haiku. The depth and layers of a single
word often really comes alive in one-line haiku, as it’s presented in a refined
format, making familiar words both fresh and insightful…”
Unquestionably, Neena has gifted the essence of poetry to the readers
through her beautiful creation.
As this week’s winner, Pravat gets to choose next week’s poem, which you’ll
find below. We invite you to write a commentary to it. It may be as long or
short, academic or spontaneous, serious or silly, public or personal as you
like. We will select out-takes from the best of these. And the very best will
be reproduced in its entirety and take its place as part of the THF Archives.
Best of all, the winning commentator gets to choose the next poem for
commentary.
Anyone can participate. A new poem will
appear each Friday morning. Simply put your commentary in the Contact box by the following Tuesday midnight (Eastern US Time
Zone). Please use the subject header “re:Virals” so we know what we’re looking
at. We look forward to seeing some of your favorite poems — and finding out
why!
The Haiku Foundation reminds you that
participation in our offerings assumes respectful and appropriate behavior from
all parties. Please see our Code of Conduct
policy.
re:Virals
278:
new year
morning —
knee deep in
the snow
left by last
year
—
Arvinder Kaur, The Mainichi Daily (2021)
https://thehaikufoundation.org/revirals-277/
Comments:
1.
I am overwhelmed to read the commentary on
my monoku on the THF blog by Radhamani Sarma & Pravat Kumar Padhy. I owe
thanks to Radhamani for selecting my verse for re:Virals and giving me the rare
opportunity to read such enlightened commentaries by two seasoned haijin.
My gratitude to my mentor Pravat Kumar
Padhy who has been guiding me in this art through discussions, emails, links
and articles—giving suggestions, advising me to send to various journals and
motivating me to read and write more. I congratulate Pravat on being
the winner this week. His commentary is enlightening and explores beautifully
the many layers in the single line in such detail that I am simply amazed at
his knowledge about haiku forms, sensitivity and sensibility.
My fascination with mangoes began in
childhood (having been born in the city famous for its mangoes), no picnic was
ever complete without this treat. My father loved them and recounted many
stories, verses and urdu couplets about this king of fruits. Having lost my
mother at the tender age of six, I hardly have any memories of her. This void
remains, though my father played the dual role lovingly which I continue to
cherish and remember with fondness.
I had read AJ Cronin’s “The Green Years” and have always
looked back on my childhood as the innocent green years of my life. Now peeling
the green mangoes, for making sweet-tangy mango chutney, which my son loves,
all these childhood memories rushed back and the monoku was created
spontaneously.
2.
How beautifully, richly and deeply you have uncovered
many layers of meaning in that one line. Kudos to Pravat Kumar Padhy and Neena
Singh.
Hearty congratulations to Pravat Kumar Padhy;
Going through your extensive analysis. In the process, your quotes are highly
appreciable thus:
“I wish to quote Jacob Salzer: “I find that haiku reminds
us to use caution with our words, and also helps us realize the value of a
single word. In terms of ‘economy of language,’ one-line haiku makes full use
of very few words, even more so than three-line haiku. The depth and layers of
a single word often really comes alive in one-line haiku, as it’s presented in
a refined format, making familiar words both fresh and insightful…”
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